TechniqueComments Off on Exploring the Limits – Resolution, HDR, HFR and Human Vision, by Richard Lackey
More resolution, High Dynamic Range (HDR), higher frame rates… How exactly do the limits of the human visual system impact our technology?
When is enough, enough? This is one of the most interesting questions brought to mind after a discussion that came up at the recent ARRI Broadcast Day held at Die Fernsehwerft studio facilities in the new creative district of East Berlin Harbour. In a studio filled with international guests from across the industry, Marc Shipman-Mueller – ARRI’s head of camera systems – opened up this topic in a way that has permanently realigned the way I view today’s core developments in digital cinema acquisition, post and delivery.
These are purely my opinions based on an evolving thought process rooted in an exploration of new technology, and not an absolute truth. I may well end up being wrong, and am happy to learn things that may change my views expressed here. In fact, I’d love to open this up to you, and hear some of your thoughts, so I encourage you to leave comments.
CinematographyComments Off on HIVE LIGHTING Wasp 100-C – Omni Color LED Ready to Go!, by Fabian Chaundy
After a successful Kickstarter campaign, HIVE LIGHTING are just a few weeks away from finally bringing their much-awaited Wasp 100-C LED fixture to market.
Like we originally reported back in December 2016, the Wasp 100-C is an 85W LED spotlight with the kind of output you would get from a 650W tungsten fixture. In addition to the usual advantages of LED — such as lower power consumption and heat generation — the Wasp 100-Calso offers Omni Color LED technology, allowing it to reproduce millions of different hues thanks to an array of LEDs of various colours, in addition to pure white.
In comparison to something like theARRI Skypanel — a very desirable OmniColor LED fixture — the Wasp 100-C comes in a compact form factor that allows it to be a lot more portable than something in a panel form-factor. The light can also be powered with anything above 95Wh, so you can stay mobile with a V-Lock or Gold mount and a D-Tap to 4-pin XLR adapter.
Cinematography, GearComments Off on Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage, by Johnnie Behiri
It has been a while since we lastreportedabout the status of the apertus AXIOM beta camera, so last week I took the opportunity to meet and talk to Sebastian Pichelhofer who is acting as AXIOM’s project leader, association chairman and one of the software developers, in order to find out what is new and in what shape and status the project currently is.
AXIOM Beta Developers kit
It was nice to hear and see that this unique open source/open hardware motion picture camera system venture is really moving forward to the point where developers and early adopters alike can now already get their kit. Mind you, if you are an “end user” like me, then the camera is NOT YET ready for us as the enclosure and actual operating system of the camera are still under development. Without those, operating the camera can be a tedious work.
Cinematography, GearComments Off on Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom, by Sebastian Wober
The conveniently-named Sony E PZ 18-110mm F/4 G OSS lens has been on our radar ever since it was announced in September, as it is one of the only lenses of its kind made for large sensor video cameras. In my Sony 18-110mm review, I will be looking at all the benefits and limitations of this lens. See the video review summary above, or read on for the details.
Sony 18-110mm Review
When looking at the new Sony E PZ 18-110mm F/4 G OSS, it makes sense to first look at its predecessor, the FE PZ 28-135mm F/4 G OSS (Review HERE). Back when Sony introduced their first lens in this series, it was the only “affordable” video lens made for large-sensor cameras with video functionality. Unfortunately, some aspects about it were not ideal: while it gave us a great focal range on full-frame cameras like theSony a7S andSony a7S II, the field of view was too narrow on crop sensor cameras (super35) like the Sony FS7, which it actually shipped with as a combo package. Also, the electronic zoom functionality was a big downside for many.
Fast forward to 2016 when Sony introduced the E PZ 18-110 F/4 G OSS, the subject of this 18-110mm review. Tailored to super35, it introduced a manual zoom functionality alongside several other improvements. Now this lens is finally on my desk and, even though the Sony FS7 is out for a shoot, I have no reservations to slap it onto our Sonya6500 to take it for a spin.
Professional video creators and filmmakers have been eagerly anticipating the release of a wide-angle G Master lens, and the wait is finally over. TheSony 16-35mm F/2.8 GM promises sharpness across the zoom range and throughout apertures, with Sony promoting the extreme aspherical (XA) element – the largest Sony has ever created – to achieve the greatest resolution and lowest image distortion. The Nano AR coating also is supposed to reduce the unwanted flare and ghosting that often plague wide-angle shots.
Eleven aperture blades promise a pleasing circular bokeh, even when shooting at the minimum focus distance of 28cm, where lower-end wide-angle lenses struggle with creating depth and maintaining sharpness.
Two direct drive SSM systems handle the auto-focusing capabilities, working with the floating focus configuration to achieve fast and precise results while remaining quiet in operation, thus catering for both photography and video applications.
CinematographyComments Off on Sony Introduces the S3CA – A Sony a7S II Without Recording Limit by; Sebastian Wober
Many were hoping to see an announcement of something like a “Sony a7S 3” camera at this year’s NAB. Instead, we saw a new version of the Sony a7S II called S3CA. While there is indeed an “S3” in its product name, this is rather a “special version” of the a7S II for certain applications. Here’s all about the new Sony S3CA.
The S3CA is an interesting camera – it features the same sensor and processing as the popular Sony a7S II, but doesn’t limit your recording to 30 minutes, meaning your card size is really the deciding factor on how long you can record for.
TheSony a7S II was introduced in 2015 and has made headlines as being one of the best cinema cameras on the market, especially because of its impressive lowlight capabilities (see my lowlight review here).
On top of its a7S II heritage, the S3CA has a slightly smaller, box-shaped and more durable body and it has no screen or buttons – it requires a USB connection with a PC or Mac as a control interface. For some applications this could be a very interesting solution. The S3CA could for example be used during a live production and be controlled from the mixer instead of a camera operator.
The camera on display was hooked up to a computer app, in which I noticed that the image lagged and stuttered. The app, however, is not intended for monitoring. Instead, the camera features an HDMI output up to 4K for monitoring and external recording.
GearComments Off on Panasonic 360 4K Video Camera – A Prototype No Longer by; Graham Sheldon
360 video is still very much the talk of NAB, and Panasonic is not one to be left behind. First announced late last year, the AW-360C10 – AKA the Panasonic 360 camera – features four cameras shooting at 3840×1920 resolution and uses real-time active stitching. It’s aimed at the live event 360 world and we have all the details below:
We firstannounced the Panasonic 360 prototype camera (Panasonic-360C10) and its base unit back in November of 2016 at Inter Bee, and now it seems the camera has made the jump from prototype into production. Four cameras mounted along the head of the unit shoot 4K video at up to 59.94fps in a 2:1 image format ratio, a.k.a equi-rectangular video.
Panasonic is hoping that their low latency system will find a home with sports, concerts, and other live, stadium-based events.
HDR TVComments Off on Samsung Unveils High Dynamic Range 4K LED Cinema Display by; Fabian Chaundy
The new 34-foot HDR LED cinema display from Samsung aims to offer impressive performance for a new age of the cinema viewing experience.
Samsung’s latest unveiling in cinema technology has clearly been designed for the new age of viewing experience. The 34-foot LED screen design follows the latest trend of High Dynamic Range, a hot topic that many manufacturers have been chasing after in recent times (check out THIS article for a recent example). Its 146fL (foot-Lamberts) make it over 10 times brighter than regular movie projectors, while offering “ultra-contrast and low tone grayscale settings” for contrast ratio of almost infinity:1.
Of course, it also features Cinema 4K resolution of 4,096 x 2,160, one of the features which make it DCI-compliant.
GearComments Off on Leica Thalia Lens Line Announced for Alexa 65 and Vista Vision by; Tim Fok
Leica has just announced a new set of primes for the 65mm Cinema format, compatible also with smaller sensor sizes. The Leica Thalia spherical lenses are compact, come in 9 focal lengths, and will cover a 60mm image circle.
The new Leica Thalia lens line.
The Leica Thalia collection has been designed with large format cinema in mind – think Alexa 65 and Vista Vision (RED Weapon 8K VV). The large image circle, however, will also enable their use on smaller, more regularly-used formats in Super35 film and digital.
Leica has announced 9 focal lengths straight off the bat, with no drip-feeding over time: 24, 30, 35, 45, 70, 100, 120, and 180mm, with T-stops ranging from 3.6 to 2.2 (see the graph further down for itemised T stops).
The Thalia lens line features a PL mount, with i Technology contacts for providing metadata.
GearComments Off on Metabones PL-E T CINE Speed Booster ULTRA is Here by; Jakub Han
The new Metabones PL-E T CINE Speed booster ULTRA was recently announced. It uses special materials and allows you to mount PL (Positive lock) full-frame cinema lenses on E-mount Sony cameras and X-mount FUJIFILM cameras.
Metabones PL-E T CINE Speed Booster ULTRA
The new Metabones PL-E T CINE Speed Booster ULTRA features a new 5-element/4-group optical design with ultra-high index tantalum-based optical glass, which should improve corner sharpness, distortion, and reduce vignetting.
Just like the original Speed Booster, it reduces crop factor by 0.71x. Given the standard crop factor of 1.5 of most APS-C/Super35 cameras, using the new Speed Booster will result in having almost no crop at all (1.5 x 0.71 = 1.065). Remember that Speed Boosters are designed to only cover an APS-C/Super35 image circle, so on full-frame camera bodies (A7 series, NEX-VG900) the camera needs to be in “APS-C/Super35” capture mode.
There’s a wide range of decent on-camera monitors to choose from, and now there’s one more candidate: the new Marshall V-LCD70W-SH. It’s a 7″ HDMI and SDI LCD monitor with pretty much every feature you would expect in this class of monitors.
It features a detachable sun hood that’s also foldable, which can be quite useful for stowing away when not needed. Those tiny brackets look like they may be a little fragile, though…
Folded and extended sun hood.
When the sun hood is attached, all buttons remain accessible as they are located on the outside, which is nice. Three user-customizable buttons for common functions such as focus peaking can be found on the left-hand side of the monitor. The other buttons are for input, menu access and on/off.
In terms of connectivity, you can use both the HDMI and SDI signals as an input. There’s a cross converter built right into the V-LCD70W-SH, so you’re able to loop through whatever signal is needed to a client monitor, for example. As an addition, this 7″ LCD sports a built-in tally light with two colors to choose from: red or green.
GearComments Off on FUJIFILM X-T20 Review – Real World Video Samples and First Impressions
Late last year while visiting Japan, I was fortunate enough to test the FUJIFILM X-T2. Now I’m delighted to have its little sibling before me, the X-T20, which was first announced at the beginning of 2017. I certainly had some expectations in regards to the video capabilities from this little camera, especially knowing how well the bigger X-T2 preformed. Here’s my FUJIFILM X-T20 review, where I will focus on its video performance.
If you have been following the latest developments in our industry, you might agree with me that something good is happening regarding all things FUJI. Besides FUJINON – their optical devision that now brings us quality cinemazoom lenses at a reduced price – FUJIFILM now offers high-quality 4K video throughout their new APS-C line, an indicator that the company is listening to their customers. If I can be a fool and look into the future, I wouldn’t be surprised if FUJIFILM’s ambitions eventually merge, and what we will see is a proper high-quality filming tool to accompany their high-quality glass.
Cinematography, GearComments Off on New FUJIFILM X-T2 Cage – LockCircle Kinetics XT2 by; Jakub Han
LockCircle is introducing their newFUJIFILM X-T2 cage called Kinetics XT2. Its asymmetrical design approach lets you hold the original grip of the camera, and features various threads for accessories as well as a baseplate, and HDMI and USB ports protectors.
LockCircle Kinetics XT2 cage with all the features
FUJIFILM X-T2 is a very interesting mirrorless camera for filmmakers that is especially capable in 4K. We tested this little camera couple of months ago, os if you haven’t yet, make sure to take a look at ourreal world video test and also our Lab test where we compared it against the Sony a7S II. LockCircle is now introducing their ergonomic cage for the FUJIFILM X-T2, which is designed to fit around the camera with an “asymmetrical design approach” for a right-handed camera grip. This means it is possible to hold the camera using the original grip even when the cage is mounted, as visible in the product photos. The weight of the cage itself is 300g (10 oz).
All camera controls remain visible and available as the FUJIFILM XT-2 cage has many cutouts, and offers multiple threads to mount various accessories – 79x 1/4”-20 threads and 3x 3/8”. The cage has also several threads to mount the AC tape measurement titanium hook.
Action camsComments Off on Cinematic Motion with GoPro ND Filters – PolarPro Cinema Series Filter Review
A little edit of my recent skiiing holidays in Flachau, Austria. I used the GoPro Hero 5 black with the Karma Grip Gimbal and PolarPro ND filters – combo that works very well! Music is “High Speed Chase” by Terry Devine-King, licenced from audionetwork.com
Let me know how you like it and feel free to share it!
Cinematography, GearComments Off on FUJINON MK18-55mm Technical Review – The New E-Mount Cine Zoom in the Lab by; Sebastian Wober
FUJINON just introduced a new line of affordable E-Mount Cine Zooms made for documentary-style cine shooters. The FUJINON MK18-55mm T2.9 is the first of two complimentary zoom lenses and it’s already on our test bench – here’s our FUJINON MK18-55mm Review.
Featuring a claimed non-breathing focus mechanism, par-focal design and fully-geared cine lens controls, let’s confront this newcomer with our 8K test chart and compare it to the infamous new Zeiss LWZ.3 21-100mm T2.9-3.9 and a similarly-specced Canon photo lens.
Also, check out our Hands-on FUJINON MK 18-55mm with Footage HERE.
Why is this Lens Interesting for Cine Shooters?
First of all, let’s look at why this lens is interesting for us! For many years, large-sensor video shooters have been forced to use photo lenses with our Canon, or Canon-adapted large-sensor cameras. As many of us shoot documentaries or documentary-style projects, using photo zoom lenses has been a real frustration as they’re designed for photography, meaning they have a short focus throw, no hard stops, no manual iris control, clunky zooming, breathing, are non par-focal… the list goes on, as these are considerations that aren’t really relevant for shooting still images. Only recently manufacturers have finally started delivering zooms that are fit for video production and are not as heavy on the lens barrel and the wallet as high-end cine zooms. The Sony28-135mm was the first of its kind (reviewed here), Canon was next, and now FUJINON is the one to catch our interest.
CinematographyComments Off on Sony Develops Super Slow Motion Sensor for Smartphones by; Jakub Han
The capabilities of image sensors are constantly getting better, also in the area of the ubiquitous small smartphone sensors. Sony has developed a new 3-layer stacked high speed CMOS sensor with DRAM. It promises to minimise image distortion and add super slow motion capabilities to future smartphones.
Sony announced the development of the industry’s first 3-layer stacked CMOS sensor for smartphones. Compared to traditional 2-layer sensors, the new Sony sensor features an added DRAM layer. The purpose of this extra layer is to increase data readout speeds and make it possible to capture still images of fast-moving subjects with minimal focal plane distortion (something we also call “rolling shutter”) as well as super slow motion movies at up to 1,000 frames per second in 1080p.
GearComments Off on Schneider Optics Announces New Cine Prime Tilt Lenses by; Jakub Han
A few days ago, German optics manufacturer Schneider announced a new range of full-frame cine prime tilt lenses. This dynamic functionality allows for extended focusing possibilities and tweaking of the depth of field in your shots.
Introduced on January 27th, these new Xenon primes from Schneider are the world’s first full-frame Cine Primes tilt lenses. In terms of design, they are basically regular Schneider Xenon full frame primes, just with the added tilt function. If tilt is left at 0°, there is no loss of image quality or sharpness compared to standard Xenon primes.
GearComments Off on The Medium Format Fujifilm GFX 50S Camera is Finally Here and Shoots Video, by Sebastian Woberr
A few months ago Fujifilm unveiled its new mirrorless medium format camera that also shoots video, the Fujifilm GFX 50S. Today they’ve finally released all the details, including the GFX 50S video capabilities, pricing and availability.
We’re all about video functionality here at cinema5D, but first and foremost, theFujifilm GFX 50S is significant news for photographers as it introduces a much more affordable medium format system, including lenses and accessories, in comparison to other systems in this field. Now it’s official, that the new GFX 50S goes for $6,499.
Other benefits of theFujifilm GFX 50S is its compact size, the removable OLED viewfinder with close to Full HD resolution and of course the high sensor resolution of 51.4-megapixels (8256 x 6192). Fujifilm is also releasing threelenses as part of the new GF series, which cover a variety of focal lengths and promises more lens releases throughout 2017.
Gear, NewsComments Off on The Hardware of the Panasonic GH5 – An Interview with Panasonic’s M. Uematsu by: Fabian Chaundy
With the expected shipping date for the Panasonic GH5 just over the horizon (here’s our detailedfeature GH5 hands-on post from earlier today), we thought it would be a good time to catch up with Panasonic’s M. Uematsu to chat about some of the more technical aspects of the next member of the popular GH line of mirrorless cameras. Check out our interview at cinema5D HQ… shot, of course, on the Panasonic GH5.
We all know how much of a cut-throat business the camera world is, with manufacturers constantly trying to one-up one another in a constant and quick succession of new camera releases. As the first big camera release of 2017, the Panasonic GH5 aims to come out swinging, promising to bring a host of truly nice features for indie filmmakers. And about time, too, as after almost 3 years, the popular GH4 was slowly starting to lag behind next to the competition.
But before diving into the great features that the GH5 will bring in a couple of months, we first wanted to know why Panasonic didn’t decide to go all out with some much-requested bells and whistles, especially given its popularity among filmmakers both amateur and professional. So, Panasonic, why didn’t you include internal ND filters and RAW recording?
GearComments Off on Panasonic GH5 Hands-on – “6K” Anamorphic Video, 4K 60p, 180fps FHD by: Graham Sheldon
TheGH5 wasannounced back in September last year, but Panasonic kept many features of the camera close to the chest. Today, at CES, Panasonic pulled back the curtain. We have the full feature list and were invited to an exclusive prior GH5 hands-on event in Los Angeles. Spoiler alert, the camera looks great and it’s a cinematographer’s dream. Features, pricing and availability below:
The built-in flash found in the old GH4 is gone and a whole new array of magical features aimed squarely at indie filmmakers have taken its place in the MFT Panasonic DMC-GH5, unveiled today at CES in Las Vegas. However, the Panasonic GH5, like a fine wine, will need to age gracefully into the summer to reach its full potential. More on that later.
Back in May of 2014, the Panasonic Lumix GH4 hit the market and became an instant favorite. Lauded for its internal 4K, variable frame rate option, XLR input module and professional video features such as peaking, zebras and cinema color profiles, it was clear that Panasonic built the camera with the cinematographer in mind. On paper, engineers have outdone themselves in every way with the new GH5.
Panasonic will be squishing features like 4:2:2 10bit 4K with a bitrate of 400Mbps and 180fps FHD variable frame rate recording into the tiny 2.0 pound body of the GH5. Over the years you get used to seeing specs like this from companies such as RED Cinema, but with the price point of a BMW 5-series. For the GH5, we are more in 1998 Honda Civic territory with a camera body price point of $2,000.
In short, the GH5 looks stylish, feels great to hold and shoots gorgeous video.
The camera launches with a max resolution of 4096×2160 up to 60fps with a bitrate of 150Mbps. Notice the differences from the features in bold above? That’s because Panasonic is rolling out a free firmware plan upgrading the camera into the summer, and 4K (400Mbps) All-Intra recording will unlock by July.
Of course, it would be great to have all the banner features right as you open the box, but like many video games these days, you’ll need to wait for updates before the camera has its full feature list, but what a list of features it is.
4:2:2 10bit – Available April, 2017
6K/24p Anamorphic Video Mode (4:3) – Available Summer, 2017
(200 Mbps) FHD 4:2:2 10bit ALL-Intra – Available Summer, 2017
(400Mbps) 4K 4:2:2 10bit ALL-Intra – Available, Summer 2017
V-Log Color Profile – Available at launch, Cost: $100
6K/24p Anamorphic Video Mode will be available in a 4:3 aspect ratio in the Summer and the very fact we are talking about getting 6K, or close, Anamorphic out of a $2,000 MFT body is exciting. Panasonic is calling this upcoming mode: “High Resolution Anamorphic” as it is 6K resolution in terms of pixel density, but not 6000 pixels of horizontal resolution.
**Update: The camera ships with Anamorphic 4K (4:3) with H.264 compression enabled. Come Summer 2017, 6K (4:3) will be shootable in H.265 compression with free firmware update. Firmware schedule below.
Unfortunately, if you previously purchased V-Log for your GH4 you will not be able to transfer that update over to the newGH5. A new purchase is required.
While the GH5 has the same dynamic range as thePanasonic GH4, it has slightly improved lowlight performance, but I wouldn’t call this a lowlight camera by any means. We were presented with a ISO 6400 video sample and noise in the picture was very evident. On top of that, when shooting with high ISO settings, the camera will automatically reduce noise internally. This feature cannot currently be turned off and can only be controlled via the menu with high/mid/ and low settings. Panasonic is certainly willing to listen to feedback and might consider adding a complete “off position button” if there is a demand for it.
Color depth is improved and the GH5 will eventually shoot internal 4:2:2 10bit, compared to the 4:2:0 8bit of its predecessor, but launches with 4:2:0 8bit only in IPB compression. 4:2:2 10bit color is double the information of 4:2:0 and provides greater grading flexibility in the post process before the image falls apart.
Here is some gorgeous footage, shot on GH5, from the good folks over at Neumann Films: